In this video we explore the most powerful color space in Photoshop LAB. You can do things in the LAB that are impossible in any other color mode, but in this video we keep it simple to start. We show you how LAB can help not only boost saturation in an image, but also how it can help separate colors Continue Reading
The post How to Apply LAB Color Adjustments in Photoshop to Enhance Your Photo appeared first on Photodoto.
Sometimes you get that photo that is almost perfect. If all it takes to make it great is a little head swap, well, today is your lucky day! I’m going to show you two techniques, for quick and easy head swapping. I’ve even included a demo video at the end, if you want to watch the tips in action. I am using Photoshop CS6 for this demonstration. If you are using a different editing program, these methods may not work for you. If you are using an older version of Photoshop, the techniques should work the same, but your screen may look slightly different.
Ready to see how to combine two photos to make that perfect photo? Let’s get started! First, open the two photos you want to work on in Photoshop. Select the photo that you want to swap a head FROM. Now we’re ready to really get to work.
For the first method, we are going to use the Lasso Tool. You can click right on the lasso in the menu, or click “L” as a shortcut. The instructions will indicate shortcuts in parenthesis (L) to help speed things up as you as you try these techniques on your own photos.
Use Cmd/Ctrl+C to copy the selection
Use the lasso to draw a loose circle around the part of the photo that you want to move. You’ll want to leave extra room, and make the circle fairly large. This is easy to take off later, but if you have to add more on, you can’t do anything except start over. Copy the selected part of your photo.
Go back to your original photo, and paste the selection there. I like to decrease the opacity of that layer so I can line things up a little bit easier. Select the move tool, and move the layer around until things are as lined up as possible. In the photos I worked with, I tried to line the mom’s fingers up exactly. If you can find something near the edge of the new part and the old part that is the same in both photos, this can make things a lot easier.
Bring the opacity of the layer back up to 100%, and add a mask to the layer. Layer masks are really awesome! They allow you to show parts of that layer or hide them.
Now you can select a soft brush. You want your brush to be black, because your layer mask is white. When you are turning part of the layer off, you need to make sure that the brush is the OPPOSITE color of the mask (white reveals, black conceals). If the white box is in the front, just click “X” to toggle back and forth between black and white.
Use that black brush to hide the excess parts of the new layer. I like to start with the hard circle edges, and then work in to the details. You can zoom your photo in as close as you need to for this part.
Once you feel that it’s mostly there, you can click the visibility off and on on the layer to see if there are strange things happening, or spots that you missed. If you turned too much of the layer off with your black brush, simply change your brush back to white and brush it back on.
Not too hard, right? Let’s try another method for swapping heads, this time using the Clone Stamp. This one is not as forgiving, but it is super quick! You’ll want to make sure that your two photos are very similar for this one. The placement needs to be close to the same for both photos. This method works especially well if you just need to replace closed eyes with open eyes from an almost identical photo.
Select your Clone Stamp tool, and let’s give this one a try!
It’s easiest if you select a part of the photo that is easy to see and line up once you switch to the original photo. In this example, I selected mom’s hand.
Cmd/Cntrl+J duplicates the layer as well
You can do this without making a background copy, but if you don’t make a background copy, and you make a mistake, you have to start over. This allows you to fix a mistake later without starting completely over.
Line the stamp up with your selected spot, and then, while holding down the mouse button, move the stamp over the old part that you want to replace. As you do this, you’ll see the new face appear.
If you covered more area than you wanted to, add a layer mask, and use the soft black brush again to take off some of that layer. (Just like we did before.)
Head swapping doesn’t work for every photo, and it always works best for photos taken one right after the other, with all the people positioned almost the same. It never hurts to give it a try, and the more you practice, the better you will get at making it look natural, and working quickly. You’ll also be able to tell at a glance if a head swap will work for two photos or not.
I’ve made a quick video demo to show these techniques in action. Let me know if you have any questions, and I’ll do my best to answer them. Now, go swap a few heads, just for fun!
The post Two Quick and Easy Photoshop Head-Swapping Techniques by Melinda Smith appeared first on Digital Photography School.
Sharpening in Photoshop has traditionally involved a compromise between applying it to the places in the image that you want to sharpen and avoiding those that you don’t want affected. Both Lightroom and Adobe Camera Raw have always had a much better sharpening tool which not only lets you see what you are doing more clearly, but also includes a very smart mask that lets you limit sharpening to detail areas.
In Photoshop Creative Cloud a Camera Raw filter was added. This opens up a world of possibilities for sharpening images better and more easily and at the completion of your Photoshop editing workflow.
So now, in Photoshop CC as you can do in Lightroom and Adobe Camera Raw, you can take advantage of this better sharpening tool. So you can sharpen a photo of a building and apply the effect to the building but not to the sky above it. This is important because blue sky is typically an area of flat color which may contain noise that you certainly don’t want to sharpen and make even more obvious!
In the video below I show you how to sharpen an image from inside Photoshop CC using the new Camera Raw filter.
Before you do this, if your image contains layers, you need to create a flattened version of the image to sharpen it. To do this, select all the layers in the image and choose Filter > Convert for Smart Filters so you are operating on the entire image. Alternately, click the topmost layer of the image and press Shift + Control +Alt +E (Shift + Command + Option + E on the Mac) to make a new layer containing a flattened version of the photo. Lastly, convert that to a Smart Filter and you’re ready to go:
Do you have any other sharpening tips?
The post Smarter Sharpening in Photoshop using Adobe Camera Raw by Helen Bradley appeared first on Digital Photography School.
Some photos that you take you’ll want to convert to black and white. Photoshop has some tools that you can use to convert your photos to black and white and I’ll show you what these are and the best way to do the conversion.
If your camera saves photos as jpeg images, even if it can capture in black and white, it’s advisable to avoid this setting and instead shoot in color and convert later. The reason is that when you capture in jpeg and have the camera set to black and white, all the color information is discarded when the image is saved and you can never get it back. So you will only ever have a black and white image. On the other hand if you capture in color you will have the choice to convert the photo to black and white, but you will also have a color image in case you decide it looks better that way.
You have a couple of choices when converting to black and white in Photoshop. You can desaturate the image by choosing Image > Adjustments > Desaturate. This removes the color from the image but you have no control over how it is converted.
A better way to convert an image is to use a black and white adjustment layer. So choose Layer > New Adjustment Layer > Black & White and click Ok to create the new adjustment layer.
When the Properties dialog appears you will see sliders for red, yellow, green, cyan, blue and magenta. You can use these to control how the colors in the photo are converted. Drag a color slider to the left to darken areas in the image which are that tone and drag to the right to lighten them.
In some cases you may see little or no change when you drag a slider – this will happen if there is little or none of that color in the image.
The sliders allow you to create a custom black and white conversion for your photo and you can also adjust how similar value colors are converted. In this image the girl’s pink shirt and the green background convert to a similar shade of grey – but adjusting the green slider to the left darkens the background and creates a more pleasing black and white image.
In addition to adjusting the sliders you can also use the targeted adjustment tool by clicking its icon in the Properties panel (circled in red below). You can then click on a specific area of the image and then drag to the left or to the right to adjust the color under the eyedropper. Drag to the left to darken the color, and to the right to lighten it. You should be aware, that this will, of course, adjust every occurrence of that color in the image, not just the area of color underneath your cursor.
As you adjust the sliders take care to avoid dragging adjacent sliders in completely opposite directions. You are adjusting colors which are likely to be found in close proximity to each other in opposite directions – making one color light and the other dark. The risk is that you will create areas of mottled darks and lights in the image which won’t be aesthetically pleasing as in this image below:
Instead, adjust adjacent sliders so their values are closer to each other for a smoother and more pleasing result as in this next image:
There are also presets options available from the Properties dialog that you can use as a quick start converting your image to black and white. Click a preset in the list to apply it. If you find one you like you can use it as is, or continue to adjust the sliders to fine tune the result.
Although you can apply this black and white conversion directly to the image using Image > Adjustments > Black and White, I suggest you use the adjustment layer method instead. The reason for this is that, when you use an adjustment layer you can double click the adjustment layer thumbnail to fine tuning the result at any time.
If you apply the adjustment as an adjustment layer you can blend it into the image below by reducing its opacity. Here I reduced the opacity of the black and white adjustment to reveal some of the original color image to give an almost hand tinted look to this image.
You can also, as I will explain below, add multiple black and white adjustment layers and use the built in masks to control how each adjustment layer affects the image.
The Black and White Adjustment Layer Properties dialog also gives you the option of tinting the black and white image. To do this click the Tint button and click the color selector which allows you to choose a color to tint the image. Choosing a bright color will result in a brighter and more colorful tint and choosing a darker color will give a more subtle tone to the image.
Occasionally you may want to treat two areas of similar color in a photo in different ways. For example you may have an image that has a blue sky as well as other elements which are also blue. If you adjust the image using a single black and white adjustment layer all the blues in the image will be converted to a similar grey value and this may not be the effect that you want.
When you need to adjust two areas of similar color in an image in different ways you can apply two separate black and white adjustment layers. To do this, add the first black and white adjustment layer and use it to adjust the image the way you want it to look for one area of color. In this example I’ve adjusted the top of the image.
Then add a second black and white adjustment layer to the image. At this point you may notice that making changes using the second adjustment layer has no effect on the image at all. This is to be expected – a black and white adjustment layer won’t have any effect when applied over the top of what is basically a black and white image. You can change this behavior by selecting the new adjustment layer and choose Layer > Layer Style > Blending Options. From the Knockout dropdown list select Deep and then click Ok.
Now you can use the new black and white adjustment layer to fine tune the image. In this case I used it to adjust the image so the bottom part looked the way I wanted it.
To finish the image you can blend the two adjustments using the masks on one or both adjustment layers.
For this example I targeted the mask on the topmost adjustment layer and filled it with a black to white linear gradient using the Gradient tool. I dragged down at an angle across the middle of the image so the gradient would follow the angle of the sign. The result is that the top most black and white adjustment layer no longer has any effect on the topmost part of the image (the mask is black in that area).
This process has allowed me to convert two areas of the photo, both of which contain a similar blue color to different tones of gray, one light and one dark.
If you prefer to watch a video showing these adjustments see below for the same steps:
This second video shows how to craft custom black and white images in Photoshop:
For tips on using Lightroom for your black and white conversions try these:
Do you have any other tips for black and white conversion using Photoshop?
The post How to do Great Black and White Conversions Using Photoshop by Helen Bradley appeared first on Digital Photography School.
When you are starting out learning to edit in Photoshop there are a lot of tools from which to choose. The Curves Adjustment is one of the more advanced tools, so it often overwhelms new users. However it is such a powerful tool that it is well worth investing some time learning to use it. In this article I’ll explain what you can understand about your image from the Curves dialog and how to use curves to edit your photos.
You can get to the Curves dialog in two ways; by choosing Image > Adjustments > Curves or you can add it as a new adjustment layer by selecting Layer > New Adjustment Layer > Curves. In each case the dialog is a little differently laid out but the same features are available.
This is the curves dialog you see when you choose Image > Adjustments > Curves:
And this is the Curves dialog you see when you choose Layer > New Adjustment Layer > Curves:
In this article I’ll focus on the Curves Adjustment Layer dialog because when you edit a photo using Adjustment Layers you can come back later and remove the adjustment or fine tune it. It would be more difficult to do this if you were to apply the effect directly to the image. In addition an adjustment layer has a mask that you can use to remove its effect from selected areas of the image. In short, using a Curves adjustment layer is a non-destructive editing technique.
When you open the Curves dialog you’ll see a chart – called a histogram – beneath the curve line (you must be using Photoshop CS3 or later to see this). The histogram is a plot of the brightness of every pixel in the image so it is an indication of the image’s tonal range. The darker pixels are plotted on the left and the lighter pixels on the right.
Ideally the histogram should stretch between the left and right side of the grid without bumping up heavily against either edge. If the histogram is hard up against the left edge of the grid as in the following example, the image is underexposed so the image contains plugged up shadows where detail has been lost.
On the other hand, if the histogram is jammed up against the right side of the grid, the image contains blown out highlights. It is overexposed and some detail has been lost in the highlight areas.
Plugged up shadows and blown out highlights may be difficult, if not impossible to recover, particularly if you capture images as jpeg files. If you capture in a raw format you have a better chance of recovering detail in these areas because more data is retained in the raw file.
If the histogram does not reach either edge of the grid then you will have an image that lacks either blacks, whites, or both. Hold the Alt key (Option key on a Mac) and drag each triangle marker underneath the histogram to move them inwards so they appear just under the point where the first white or black pixels are located in the chart.
Holding the Alt or Option key ensures that you can see the pixels change on the image as you are adjusting them. Adjust the markers under the chart until you only just see a few white and black pixels in the image (as seen above as areas that are light or a color).
The Curves dialog also has an eyedropper that you can use to remove a color cast from the image. Click the middle of the three eyedroppers to set a grey point by clicking on an area of the image which should be neutral grey. If the color under the eyedropper isn’t neutral (if it’s Red, Green and Blue values are not equal) then Photoshop will adjust the image to make the color neutral – effectively removing the color cast. You can click repeatedly on the image until you find a place that gives you a good result. It is advisable to set the sample size on the tool options bar to 3 by 3 Average before you sample a gray point so that your sample is more than just a single pixel.
The standard curve is actually a straight line running diagonally across the grid from the bottom left to the top right of the chart. This straight line is equivalent to no adjustment at all so, by default, the Curves adjustment does nothing to the image.
You can adjust the Curve line a couple of ways. One option is to click and drag on the line in an upward or downward direction to adjust the pixels of that tone in the photo. One adjustment that you can perform using this technique is to drag the line into what is often referred to as a shallow S-curve.
To do this, click and drag the line down on the left side of the grid and drag the line slightly up on the top right of the grid. This adds additional contrast to the image mid-tones – because anywhere that the curve line is steepened, you add contrast and anywhere it is flatter you reduce the contrast. By dragging the line into a shallow S-curve you’re steepening the line through the area in which the image mid-tones are located increasing contrast in those tones.
You can also adjust the curves line by clicking the onscreen adjustment tool and then drag on an area of the image that you want to adjust. Drag upward to lighten the tones represented by the pixels under the eyedropper, and drag downward to darken them. Notice that you aren’t just adjusting the area around the point where you are dragging, you are also adjusting all the pixels of that tonal value in the image, wherever they are located.
Whenever you’re adjusting the curve line make sure not to flatten it or invert it. If you invert the line as shown below then you’ll invert the colors in the image.
If the line is flat (horizonally) then the pixels in the flat area will all become the same shade of gray.
To add points to the curve line simply click on the line where the point should be added. To remove a point on the curve, click on it and drag it off the edge of the chart and it will be removed.
Sometimes you may want to fix the line so it does not move, thus allowing you to adjust the curve on either side of the fixed point. To fix the line, click on it to add a point at its current position. Sometimes you may need to add a couple of points so that you can then adjust other areas of the line without also affecting tones that you don’t want to change. In the image below I have fixed the highlights so that the curve line wouldn’t move when I dragged up on the left end to lighten the darker areas of the photo. If I hadn’t locked down the highlights the entire curve line would have moved upwards, risking the highlights become too light.
Using the onscreen (targeted) adjustment tool you can also determine where on the curve line certain tones in the image are located. Instead of clicking and dragging on the image, simply hold your mouse pointer over an area of interest. When you do this the appropriate point on the curve that relates to the pixels under the mouse pointer will be indicated with a hollow circle.
If you want to add a point on the curve at this location Ctrl + Click (Command + Click on a Mac) on the image to do so.
In addition to the RGB channel you can also adjust the curve for individual color channels. From the dropdown list that displays RGB by default, choose the channel you want to adjust – there are selectors for Red, Green and Blue.
The red channel controls both red and cyan in the image; drag upward to add red to the image and downward to add cyan. The green channel controls green and magenta, so drag upward to add green and downward to add magenta. Likewise the blue channel controls blue and yellow; drag upward to add blue and downward to add yellow.
Using the color channels you can, for example, warm up an image. You could do this by adding red (drag up on the curve in the red channel) or yellow (drag down on the curve in the blue channel), or both.
Once you have applied a Curves adjustment to your photo you can close the Curves Properties dialog. At any time, if you used a curves adjustment layer you can double click on the curves layer thumbnail to open the curves dialog and further adjust it.
As with other adjustment layers a layer mask is automatically added to the curve adjustment layer. Target the mask in the Layers palette and you can then paint on it with black or gray to remove the effect of the curve from a selected area of the image. Paint on the mask with white to paint reveal the adjustment in that area again. In the image below, the mask shows that the curves adjustment affects only the building (white area) and not the sky (black area).
You can also add a black to white gradient fill to mask the curves adjustment so it is applied to the top part of the image and not the bottom.
In some situations you may want to add multiple curve adjustments to an image – the first which fixes one part of the photo and another to fix another part of the photo. You can use the layer masks to control how each curves adjustment affects the photo.
Photoshop ships with some curves presets that you can use by selecting them from the Preset dropdown list.
You can also create your own presets. So if there is an adjustment such as a shallow S-curve that you like to apply to many of your photos, you can save this curve as a preset by first adjusting the line to the desired shape then click the fly-out menu and choose Save Curves Preset, type a name, and click Save. In future your preset will be available from the list.
Learning to use curves will give you more options when editing your images in Photoshop. You’ll find curves are a feature of most advanced editing software so it is an adjustment you will find in other programs including Gimp, Lightroom and Adobe Camera Raw.
You can view a video of this tutorial on curves below:
Do you have any other tips for using curves in Photoshop? Please share in the comments below.
The post How to do Quick and Easy Curves Adjustments in Photoshop by Helen Bradley appeared first on Digital Photography School.
It appears that Google’s Chromebook laptops are finally getting Photoshop, at least in limited beta at first – starting with US-based Adobe education customers. According to a blogpost on the Google Chrome blog, Adobe Photoshop is now available in a limited beta release for Chromebook. U.S.-based Adobe education customers with a paid Creative Cloud account can apply for access to the program, which provides a streaming version of Photoshop to Chromebook users. Learn more
Articles: Digital Photography Review (dpreview.com)
Have you seen the writing on images? You know, the little pictures or words that show the photographer’s name? Those are called watermarks. Photographers often watermark their images so that they are properly credited for their work. Here are a few ways to watermark images with Photoshop and Lightroom.
You can create watermarks in Photoshop several different ways. Here are a few of them.
The first way is to create a text layer. This is great for simple word watermarks. You can then write your name or your photography business’ name. From there, you can adjust the opacity as you see fit. Try adjusting the blending mode to achieve the look you want. To get the © symbol type; option+g on a Mac, or Alt+0169 on a PC.
Normal blending layer with black font at 100% opacity.
Normal Blending Mode with an opacity of 63% in black font.
Overlay Blending Mode with a black font color at 100% opacity.
If you have a logo you can place it on your image. You want to make sure your logo has a transparent background. Usually, this will be a PNG file, a GIF or even a vector graphic. If you are unsure, check with your logo designer. Use the place option to put your logo on your image. Again, you can adjust your opacity and blending modes to get the desired effect.
PNG file with a transparent background. The checker pattern lets you know that the background is transparent.
Place function in the Photoshop CC menu. You then choose the file you’d like to place.
Place the file and adjust the size as you wish. (Hold the Shift key down as you resize to maintain the aspect ratio and proportion of your logo)
You can again adjust the opacity and blending mode to get your desired look.
If you have a logo file that does not have a transparent background then follow these simple steps to create one. First, open your file in Photoshop. Go ahead and unlock this layer (double click it, then hit Enter).
Background layer locked
Layer is now unlocked.
Next, use the magic wand to select the background. If the background is not a solid color then select your logo image and then invert the selection. Now that your background is selected, simply cut. You can do this with cmd+x (Mac) or ctrl+x on a Windows computer.
Select the background only.
Your image should now have a transparent background. Save this file as a .PNG (JPGs cannot hold transparency) and you’re ready to go.
Where you see the grid pattern it’s now transparent.
For an even easier way to watermark, create a brush. This way you do not have to go through these steps each time you want to watermark your images.
To create the brush with text you’ve written you will need to open a new document in Photoshop. Make sure your document has a transparent background. Type the information you want to have on your watermark. Make sure you have it set up exactly like you want it on your images. Once you have your watermark just as you want it you should go to Image > Trim > Transparent Pixels. Next, Edit-Define Brush Preset. Name your brush and you’re ready to go. The same process can be done with your logo file.
These are sample settings that work well in most cases. Make sure your background is set to “Transparent”.
Notice that the font is written very large.
Make sure you trim your watermark text.
Your trimmed text should have no space around it.
Define your brush in the edit menu.
Give your brush a descriptive name.
Notice that your brush is now in your brush menu. You can see it at the bottom right in this picture.
You can now use your brush as you would any other brush. The key to having it watermark is to create a layer and select the brush that is your watermark. A simple click will watermark your image. You can adjust the size, opacity, and blending mode as your like.
For more on making a signature brush read: How to make a signature brush in Photoshop
Lightroom has an awesome feature built-in that allows you to watermark your images upon export. In order to use this feature you must first set up your watermark, to do that go to Lightroom>Edit Watermarks.
You can choose an image or text. There are several different settings that allow you to adjust your watermark like you want. Remember, to get the best results you’ll want to use a PNG file with a transparent background. If you don’t, you’ll have a white box around your logo. You’ll need to save and name your watermark.
For a text watermark simply write your desired information in the white box. You can change the font, color, shadow, and size of your watermark. Watch the image to see your desired effect. Use the Anchor option to adjust placement and the Inset option for further tweaks.
The font, opacity, size, and location can be altered as you like.
Make sure you use a logo file with a transparent background to avoid this white box. JPEG files cannot have transparent backgrounds.
Now that your watermark is all set up, let’s apply it to your image. Go to Export and Watermarking. There you can choose whatever watermark you have setup. Your image will be exported to the desired location with the watermark chosen.
This image was watermarked in Lightroom with a shadow.
Have you got any other methods for adding a watermark to your images? Please share your tips or your results using these methods in the comments below.
The post How to Watermarking Images With Photoshop and Lightroom by Monica Day appeared first on Digital Photography School.
Adobe has announced new versions of its basic photo and video editing software, Photoshop Elements 13 and Premiere Elements 13. Photoshop Elements updates include a new Photomerge Compose tool for copying people or objects from one photo into another, and Premiere Elements gets an enhanced Shake Stabilizer mode designed to smooth out shaky video footage. Learn more
Articles: Digital Photography Review (dpreview.com)
Masking is one of those techniques that will change the way you use Photoshop. Understanding this technique can help you to jump from being a beginner level Photoshop user, to a more advanced one. In this article, I will explain how masking really works in Photoshop, its few key concepts, and how Masking helps you to perform non-destructive editing.
The skills you need to get started masking in Photoshop are being able to use the brush tool to paint color, understand two colors black and white, and knowledge of how layers work in Photoshop, which I assume you have very sound knowledge on.
If you can relate the word masking with the mask, it may make some sense. Why do we use a mask, to cover the face, right? So why would we use masking on a layer, to cover or uncover the content of any layer. With a mask you can control the transparency of a layer. But that is what opacity and fill is for, right? Yes, opacity and fill do control the transparency, but it works for whole layer. What if you would like to have only the right part to be transparent and the left part to be completely visible? That’s when masking comes into play.
Masking works in two ways. First, you simply add a mask on any layer by clicking the third option on the bottom of layer palette. The other way is by using adjustment layers, which always comes with a mask.
This image shows a layer with no mask applied. I have highlighted the third option on the layer palette. That is where you add a mask. |
Clicking on the mask option will create a white layer mask on the layer selected. |
This image shows an adjustment layer. They help you to perform non-destructive editing, and every adjustment layer created this way, comes with a white mask. |
This shows that a new curve adjustment layer has been applied with the white mask. |
While working with masking please remember that white shows the content where as black hides. If your mask is white, the mask is transparent and the layer is fully revealed, whereas if the mask is black it is opaque and the layer below will show through. Below are a few examples that will help you to understand masking better.
A handy saying to help you remember: white reveals, black conceals
The image above shows, that the white mask reveals the content of the layer it is affecting. I duplicated the background layer and desaturated it with Shift+Command+U on a Mac (Shift+Control+U on PC).
With Ctrl/Cmd+I, you can invert the white mask into a black one. Since black hides the effects, the image has now been changed from back and white to color, from its original state (the layer below is now visible)
When you first add a mask it will initially be white, but you can change it into black either by inverting the mask, Cmd/Ctrl+I, or you can fill with black or white. Alternately, by simply pressing Alt while clicking to create the mask would also result in a black mask.
You can now paint on the mask with the brush key selected. Make sure your foreground color is opposite to the color of the mask. If you are painting with black on a white mask, the content of that part of layer is becoming transparent while the white parts remain as is. If you are painting white over a black mask, then that part would be back to its original form. You can play around with the percentage of fill and opacity to get more control over your workflow.
Here I painted the guitar with a black brush over the white mask, resulting in the visibility of color from the layer below.
Additional tip
Simply press your number on the number pad and your opacity will change as per. If you press shift plus the number, then its fill will change.
Do you have any other masking tips and tricks? Please share in the comments below if you do, or if you have any questions.
The post Understanding Masking in Photoshop by Anup Ghimire appeared first on Digital Photography School.
In June Adobe announced Photoshop Mix, an image organization and manipulation app for the Apple iPad which can sync with Photoshop CC for desktop computers and Lightroom Mobile via Adobe’s Creative Cloud.Today the software maker has released Photoshop Mix 1.1, the first major upgrade to the new app. Improvements include support for large panoramic images and PNG fields as well as the option to open files directly from Dropbox. Read more at connect.dpreview.com.
Articles: Digital Photography Review (dpreview.com)
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